By Alix Cohen

It takes artistic audacity for a female artist to offer a show of Barbra Streisand material.Though Melissa Errico tells us the evening is an homage– trying to chart the ways a great artist has influenced, and not a tribute, which she defines as imitation, the specter of an icon might daunt.

That Errico is enthusiastic (not gushing), thoughtful, and presents remarkable vocals- wowza is she in good voice- addresses “The Streisand Effect” (evidently an internet meme) without an overshadowing.The performer’s energy might be compared to muscular bubbling up of a bottle of shaken champagne. Every moment on stage is high stakes.She emits sparks. Craning forward, bouncing, perambulating, dancing, Errico draws in her audience. It’s impossible not to be engaged.

Wearing a bespoke sailor blouse (a nod to My Name Is Barbra), Errico opens the show with an irrefutable “I’m All Smiles.” (Michael Leonard/Herb Martin).“Hurry, It’s Lovely Up Here” (Burton Lane/Alan Jay Lerner) in duet with Billy Stritch, is an invitation that no burgeoning blossom could resist.

Streisand is celebrated not only for her talents, but also for the paths she forged. She was, for example, the first public figure to sue to get an image- her home- off the internet. Before her, studios and record labels expected female stars to be interpreters, not decision-makers. She fought for choosing her own material, controlling arrangements and production, shaping her screen image, refusing glamour standards she didn’t like. (Not all of this is mentioned.)

Later (this might land better closer to the point), “What About Today?” (David Shire/Nickolas & Eve Landau) arrives with sweeping, righteous anger. Written 55 years ago FOR Streisand, the song provokes pacing, dips, knee bends and flyng curls.

Errico feels she and Streisand have similar fiery temperament, an analogy that could be made clearer. In collaboration with David Shire and Adam Gopnik, the artist wrote “Daughter of Fire,” eminently an ode a goddess, almost an essay. She wears the song like a new fur coat- proud and thrilled. Andy Ezrin’s terrific arrangement of “Lazy Afternoon” (Jerome Moross/Lohn Latouche) is sensual and textured. Errico’s left hand emerges balletic.

The artist tells us Billy Stritch is featured in Streisand’s autobiographical tome. Should you own it, chapter 48, page 778. He reads his section elaborating on a party to which he was taken by Liza Minnelli. When they performed, the diva apparently took appreciative note.

During costume change, we’re treated to Stritch’s interpretation of “Cry Me a River” (Arthur Hamilton), and I do mean treated. Ezee bass paves the way for the succession of piano, keyboard, and brushed cymbals. Vocal is a sober blues.Human scale creates empathy.One more contribution would’ve been lovely.

“Evergreen” (Paul Williams/Barbra Streisand), which sails in on undulating piano, and Stephen Sondheim’s “Send in the Clowns” follow. The latter, replete with a verse written by Sondheim for Streisand’s concerts, is an example of research. “What a surprise/What a cliché…” Errico sings during the second song as she walks to the edge of the stage, one hand fisted.

“So what’s The Streisand Effect? Maybe to be daring, to tell the truth, to stand up for oneself, and find your own voice…
I was raised in a house without feminism. I’m still growing up in this music…” she muses. During “Papa, Can You Hear Me?” (Michel Legrand/Alan & Marilyn Bergman), urgency teeters on ferocious.


Melissa Errico, Ava Arkin, David Finck

The famous counterpoint duet of “Happy Days Are Here Again” (Milton Ager/Jack Yellen) and “Get Happy” (Harold Arlen/Ted Koehler), was performed on The Judy Garland Show in 1963. Tonight, it’s recreated by Errico with guest Ava Arkin. The young artist holds her own in spirit, poise and vocal.

Caveats: A dense, duet medley by Errico and Stritch manifests as a fusillade.
Musicianship and arrangements are both excellent

A thoroughbred performance.

Photos by Alix Cohen
Opening: Billy Stritch & Melissa Errico

Costumes by Eric Winterly

Melissa Errico: Back to Barbara with Billy (Stritch)
MD/Piano/Vocals- Billy Stritch
Keys- Andy Ezrin, Bass- David Finck, Drums- Eric Halvorson
54Below https://54below.org/